Blondie vinyl box review

blondie_vinyl box

Graeme Piper reviews the new Blondie vinyl box set.

What more can be said about Blondie’s music that hasn’t been said a thousand times before? So ingrained in our consciousness are they after nearly 40 years, that there isn’t really much left to say. But there’s much more to the New York group’s music, other than a handful of top 10 singles and an album that shot them to international fame.

Just released by Universal, and pleasing the vinyl lovers among us no end, comes this box set featuring all six Blondie albums from their ’76 – ’82 heyday. From the 1976 debut Blondie, 1978’s follow-up Plastic Letters, breakthrough album Parallel Lines (also from 1978) and finishing with Eat To The Beat (1979), Autoamerican (1980) and The Hunter (1982). To top it all off, all six albums fit neatly (rather too neatly actually – it took a bit of effort to get the albums out!) into a sturdy outer slipcase, complete with iconic Parallel Lines-esque artwork.

This set offers nothing new in terms of track content other than what was released on the original albums, but it really doesn’t matter as the box just needs to be appreciated for exactly what it is. Faithfully reproduced from the originals, attention to detail is king. And when I say ‘faithfully reproduced’, it’s exactly that – the cover artwork is just as the originals in every way and even the inner sleeves contain the same information and images. The obligatory 2014 copyright info is the only small addition to each back cover with those annoying barcodes also making an appearance on the back of each sleeve.

The actual vinyl is pretty joyous as well – lovely 180g heavyweight vinyl gives a much superior sound quality to the originals and is a far cry from the super thin records so common in the 70s, 80s and 90s. The centre labels are also fully intact in terms of look and reproduction (again, the only addition is the 2014 copyright guff), but oddly, the bracketed track timings that appear on the originals have disappeared.

Anyway, with the overall look, feel and authenticity all pretty expertly taken care of, how does this thing sound? Well, bloody lovely actually. I can’t find any info about whether the tracks are taken from the most recent remastering some years back or not, but I’d like to think that they are given that they sound superior to the originals.


Starting from the top with debut Blondie from 1976, the album was released amid the emerging New York punk/new wave scene on Private Stock Records and immediately crashed and burned. Luckily for them (and us), Chrysalis were on hand to scoop up the fallout and re-release it. Although the album doesn’t contain any chart toppers that would soon become commonplace, it is home to killer singles X Offender and Rip Her To Shreds which told us in no uncertain terms that Blondie had arrived.

1978’s Plastic Letters carries on from where Blondie left off, with more of the pop-rock that put their name on the map, and spawned the band’s first bonafide hit single in Denis (UK #2, March 1978). Future single (I’m Always Touched by Your) Presence, Dear and the fantastically titled I’m on E also feature and pushed Blondie further towards what was to follow.


Their first UK number one album, Parallel Lines, of course, needs no introduction and can almost go unreviewed. Spewing forth massive hits like they were going out of fashion, including the disco swirl of Heart of Glass, the raucous Hanging On The Telephone and the vicious, slicing riff in One Way or Another, not forgetting non-single tracks that are equally as good (Will Anything Happen?), it’s virtually a Greatest Hits package without even trying.

Hot on the heels of their new found international success, Eat To The Beat arrived just a year later in 1979. Hitting the UK albums charts to give them their second number one album, it gave birth to another slew of hit singles including the wistful Union City Blue and perennial favourite Atomic. Taking the winning formula from the previous album and carrying it forward, with added touches of funk and reggae being thrown into the mix, gave the album a more diverse sound.

Autoamerican, again, came just a year after its predecessor and the band were in experimental mode. Though the album proves to be something of a mixed bag musically, with funk and jazz fusing with their already established pop rock sound, this didn’t hamper its success, reaching UK #3 and it offered two solid hit singles in UK chart topper The Tide Is High and Rapture.


Conceived as a concept album, commercial and critical success didn’t beat the door down upon the release of final album The Hunter in 1982. The calypso inspired lead single Island of Lost Souls reached a respectable number 11 in the UK, but only just scraped in at 37 in the US. Follow-up War Child fared less well – it failed to chart in the US and was only a minor UK hit. Not bad songs, but It’s fair to say that, at this point, Blondie’s best days were gone. With poor album and ticket sales following, eventually drugs, tensions and Chris Stein’s illness all took their toll and Blondie split at the end of the year.

The thought of Blondie becoming so influential and vital to future generations was probably the last thing on their minds and it was another 17 years before the inevitable (and glorious) comeback that heralded a second wave of plaudits and commercial success (1999’s No Exit was a UK #3 album).

Fully justified and worthy of such a release, the Blondie Vinyl Box Set is really a testament to a band who, in a relatively short lifespan, created some of the most memorable songs of an era and really did prove to be every bit as influential and vital as this set would testify.

The Blondie Vinyl Box Set is out now.

Review by Graeme Piper for SuperDeluxeEdition.

SuperDeluxeEdition.com helps fans around the world discover physical music and discuss releases. To keep the site free, SDE participates in various affiliate programs, including Amazon and earns from qualifying purchases.


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[…] Blondie six-LP vinyl box got a glowing review at the end of last year on this blog and if you’ve been waiting for a significant price-drop […]


Just saw this and it goes to the top of my list. I know best-of/hits discs are rarely, if ever, included in box sets like this, but the original Best of Blondie has several exclusive mixes, the much improved promo/12″ edit of Rapture- also exclusive at the time, and Call Me from American Gigolo.. it would have been a great inclusion and made this set more complete.

Metal Mickey

I love Autoamerican and think it’s very underrated, but that’s probably because it’s such a disjointed end-to-end listening experience, with avant-classical, cocktail jazz, reggae, punk/new wave, disco, rap, powerpop and even showtunes all fighting for attention song-by-song… even as I write this I can’t think of any other album that’s quite so wilfully eclectic… all good stuff though!


Any sign of who pressed the LPs?


I don’t know AutoAmerican or The Hunter (I’d lost my Blondie fixation by then having followed them since Plastic Letters) however I might be tempted by this if it had included a book along the lines of the The Jam vinyl boxed set or even better the Suede one which includes comments on very track from the band.

I’m sure it’s a lovely set though…

Graeme Piper

I agree, a book(let) would have topped this off nicely, but even without it, it’s a great looking set. And well worth the money even now that the price has rocketed back up.


The digital download of the set fails to include Autoamerican; the audio files in that folder are a repeat of the band’s first album. I’ve tried to find any news about a corrected set, but gotten nowhere. Still, awfully glad to have these on 180gm vinyl!

Graeme Piper

I must admit, I never even looked into the download code that came with this set (I also failed to mention it in the review – oops!). I may investigate now…


I still cherish my picture disc of Parallel Lines :-)


You are so right, that box is way too small, I had a really hard time to get them out! Never seen something like that. And once I wanted to put them back in, it was just as bad. At first I thought that there was too much air captured within the inner sleeves or the sleeves, because once inside, the box was fat, it wasn’t parallel lines for sure. Yet even with all the air out, the box doesn’t look flat anymore. Bad job.

Graeme Piper

Indeed. It’s almost too tight for 5 albums, let alone 6!